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Sound, Space, and the City

Civic Performance in Downtown Los Angeles

By Marina Peterson

Publication Year: 2012

On summer nights on downtown Los Angeles's Bunker Hill, Grand Performances presents free public concerts for the people of the city. A hip hop orchestra, a mariachi musician, an Afropop singer, and a Chinese modern dance company are just a few examples of the eclectic range of artists employed to reflect the diversity of LA itself. At these concerts, shared experiences of listening and dancing to the music become sites for the recognition of some of the general aspirations for the performances, for Los Angeles, and for contemporary public life.

In Sound, Space, and the City, Marina Peterson explores the processes—from urban renewal to the performance of ethnicity and the experiences of audiences—through which civic space is created at downtown performances. Along with archival materials on urban planning and policy, Peterson draws extensively on her own participation with Grand Performances, ranging from working in an information booth answering questions about the artists and the venue, to observing concerts and concert-goers as an audience member, to performing onstage herself as a cellist with the daKAH Hip Hop orchestra. The book offers an exploration of intersecting concerns of urban residents and scholars today that include social relations and diversity, public space and civic life, privatization and suburbanization and economic and cultural globalization.

At a moment when cities around the world are undertaking similar efforts to revitalize their centers, Sound, Space, and the City conveys the underlying tensions of such projects and their relevance for understanding urban futures.

Published by: University of Pennsylvania Press

Title Page

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Copyright Page

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Dedication Page

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Table of Contents

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Preface

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pp. ix-xiv

I went to Los Angeles to see what happened in a city that did not take its centrality for granted. As my knowledge of Los Angeles at that time was acquired through the literature on the postmodern city and its features of sprawl and decentralization (Davis 1992; Dear 1986, 2000; Jencks 1993; Soja 1989, 1996), I had not expected to find a public concert presenter downtown. I was aware...

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Introduction: Sounding the City

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pp. 1-15

I sit at the back of the stage, the other cellists on either side and in front of me. With my right hand I pull the bow into the string in rhythmic repetition. My left hand presses the same string against the fingerboard, as I make the low sounds warm with vibrato. With the stage drained of the cascading water that runs over it when not being used for a performance, burbling sounds behind us are the only...

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Chapter 1. A Center for a Centrifugal City

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pp. 16-45

Looking out at Los Angeles at night from the Griffith Park Observatory, densely sparkling lights span the expanse of land as far as one can see to the east, south, and west. North, the mountains are sparsely lit, the lights of the San Gabriel Valley just visible on the other side. Visitors point out landmarks, places...

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Chapter 2. Mapping a Metropolis in Motion

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pp. 63-75

When I entered Grand Performances’ office to begin fieldwork, the director handed me a well-worn copy of The Ethnic Quilt: Population Diversity in Southern California (Allen and Turner 1997). They were interested in the information in the book, he explained, for fund-raising and marketing. I leafed through its pages, stopping to look at maps showing the spatialization of 1990 census data. A blue map with the caption ‘‘Persons in Poverty’’...

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Chapter 3. Performing L.A.

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pp. 76-103

Double G steps onto the podium and the orchestra tunes to the piano’s A minor chord, with D-A-F played sequentially and held to sound a chord. Cellos start. Along with the other cellists, I play my A string, then D, G, and C. At first the sound is that of a symphony orchestra tuning: strings and brass sustain their notes, adjusting to match the pitch of the piano....

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Chapter 4. Sonic Civilities

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pp. 104-127

El Vez begins the second half of the performance dressed as Uncle Sam, with white vest, huge white bell-bottom pants, and billowing satiny blue sleeves. His band, the Memphis Mariachis, wears straw hats and white shirts. An American flag hangs at the back of the stage. ‘‘El Vez for Prez’’ opens with a rendition of ‘‘God Bless America.’’ Between songs, screens on...

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Chapter 5. ‘‘Los Angeles at Its Best’’

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pp. 128-151

‘‘So the next song, this is a very special song, I’m going to try to hold it together emotionally, as we play this, it’s one of them songs you know, one of them songs. . . . It was written by Parliament and Funkadelic.’’ Hearing this, some in the audience yell in appreciation and recognition. ‘‘It’s called ‘Come In out of the Rain.’ ’’ Double G cues the orchestra and we start...

Notes

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pp. 153-158

Bibliography

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pp. 159-173

Index

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pp. 175-178


E-ISBN-13: 9780812207705
E-ISBN-10: 081220770X
Print-ISBN-13: 9780812222364
Print-ISBN-10: 0812222369

Page Count: 200
Publication Year: 2012

Series Title: The City in the Twenty-First Century
Series Editor Byline: Eugenie L. Birch and Susan M. Wachter, Series Editors